Diss.--Hamburg. / Lebenslauf. Reproduced from type-written copy. "Quellenangabe": iii p. at end.

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[pt] A Freedom House, instituição estadunidense, reportou 2019 como o décimo quarto ano seguido de recessão democrática mundial, uma crise que ressuscita a discussão acerca do conceito usado para denominar esses movimentos antidemocráticos. Muito se fala que eles seriam novas versões de um fascismo, a despeito de características distintas em cada manifestação. O semiólogo italiano Umberto Eco antecipou essa questão e criou um conceito que busca resolver essa problemática: Ur-Fascismo. O Ur-Fascismo é o fascismo que nunca acaba, que se reconstrói, se retrabalha, se adequa a cada época, dado seu caráter infinito. As distintas aparições do fascismo não se limitam à política da realidade: a política da ficção tratou de apresentá-lo de diversas formas. Partindo da discussão de uma base teórica sobre teoria política, em particular sobre o Ur-Fascismo, será possível perceber como a ficção tratou aparições e características desse fenômeno, tomando, para isso, dois objetos: Não vai acontecer aqui, de Sinclair Lewis, e Ele está de volta, de Timur Vermes. Assim, será possível trabalhar as idiossincrasias dos Ur- Fascismos dessas ficções, suas diferenças e similitudes, em consoante com as bases da teoria política e, no processo, expandir tanto o estado da arte sobre literaturas do Ur-Fascismo, quanto contribuir à discussão sobre um fenômeno político pouco compreendido. Por fim, encerra-se com uma discussão, a partir da ideia de vaga-lumes de Pasolini e Didi-Huberman, sobre a importância da arte, em especial a arte antifascista, na luta contra o Ur-Fascismo. / [en] Freedom House, an US institution, reported 2019 as the fourteenth year in a row of a global democratic recession, a crisis that resuscitates the discussion about the concept used to name these anti-democratic movements. Much is said that they would be new versions of fascism, despite different characteristics in each manifestation. Italian semiologist Umberto Eco anticipated this issue and created a concept that seeks to resolve this issue: Ur-Fascism. Ur-Fascism is fascism that never ends, that is reconstructed, reworked, adapted to each era, given its infinite character. The different appearances of fascism are not limited to the politics of reality: the politics of fiction tried to present it in different ways. Starting from the discussion of a theoretical basis on political theory, in particular on Ur-Fascism, it will be possible to perceive how fiction treated apparitions and characteristics of this phenomenon, taking, for this, two objects: It can t happen here, by Sinclair Lewis, and Look who s back, by Timur Vermes. Thus, it will be possible to work on the Ur-Fascism idiosyncrasies of these fictions, their differences and similarities, in line with the bases of political theory and, in the process, expand both the state of the art on Ur-Fascism literatures and contribute to the discussion on a little understood political phenomenon. Finally, it ends with a discussion, based on the idea of fireflies, developed by Pasolini and Didi-Huberman, about the importance of art, especially anti-fascist art, in the fight against Ur- Fascism.

This thesis argues that Edith Wharton’s assessment of American ways and their meaning in her post-war fiction has been widely misread. Its title derives from French Ways and Their Meaning (1919), which she wrote to educate her countrymen about French culture and society. Making sense of America was as great a challenge to Wharton. Much of her later fiction was for a long time dismissed by critics on the grounds that she had failed to ‘make sense’ of America. Wharton was troubled by American materialism and optimism, yet she believed in a culturally significant future for her nation. She advocated – and wrote – an American fiction that looked critically at society and acknowledged the nation’s ties to Europe. Sometimes her assessment of American ways is reductive, and presented in a tone that her critics, then and since, found off- putting and snobbish. But her skepticism about American modernity was penetrating and prophetic, and has not been given its due. In criticism over the last two decades, a case for the place of Wharton’s post-war fiction in canons of feminism and modernism has been persuasively made. The thesis responds to these positions, but makes its own argument that the post-war writing reflects broader shift in American identity and ideology. The thesis is broadly historicist in its strategy, opening with a discussionofthereputationofthesetextsandthatoftheauthormoregenerally. Afterthat entry-point, it is organized thematically, with four chapters covering topics that are seen as key components of American ideology in Wharton’s post-war writing. These include modernity, gender equality, the American Dream of social mobility, and American exceptionalism. The thesis concludes with an assessment of Wharton’s prognostications in the context of twenty-first century America.

ABSTRACT This study focuses on twenty-one particular texts published in 1925 as contemporaries of The Great Gatsby. The manuscript is divided into four categories—The Impressionists, The Experimentalists, The Realists, and The Independents. Among The Impressionists are F. Scott Fitzgerald himself, Willa Cather (The Professor’s House), Sherwood Anderson (Dark Laughter), William Carlos Williams (In the American Grain), Elinor Wylie (The Venetian Glass Nephew), John Dos Passos (Manhattan Transfer), and William Faulkner (New Orleans Sketches). The Experimentalists are Gertrude Stein (The Making of Americans), E. E. Cummings (& aka “Poems 48-96”), Ezra Pound (A Draft of XVI Cantos), T. S. Eliot (“The Hollow Men”), Laura Riding (“Summary for Alastor”), and John Erskine (The Private Life of Helen of Troy). The Realists are Theodore Dreiser (An American Tragedy), Edith Wharton (The Mother’s Recompense), Upton Sinclair (Mammonart), Ellen Glasgow (Barren Ground), Sinclair Lewis (Arrowsmith), James Boyd (Drums), and Ernest Hemingway (In Our Time). The Independents are Archibald MacLeish (The Pot of Earth) and Robert Penn Warren (“To a Face in a Crowd”). Although these twenty-two texts may in some cases represent literary fragmentations, each in its own way also represents a coherent response to the spirit of the times that is in one way or another cognate to The Great Gatsby. The fact that all these works appeared the same year is special because the authors, if not already famous, would become famous, and their works were or would come to represent classic American literature around the world. The twenty-two authors either knew each other personally or knew each other’s works. Naturally, they were also influenced by writings of international authors and philosophers. The greatest common elements among the poets and fiction writers are their uninhibited interest in sex, an absorbing cynicism about life, and the frequent portrayal of disintegration of the family, a trope for what had happened to the countries and to the “family of nations” that experienced the Great War. In 1925, it would seem, Fitzgerald and many of his writing peers—some even considered his betters—channeled a major spirit of the times, and Fitzgerald did it more successfully than almost anyone.